Directing the Confrontation Between Creon and Haemon
As a director, I would direct this scene to express the immediate
arrogance of Creon and the noble and loving nature of Haemon. I would
show this with light, space, and sound.
At the start of the scene, Creon is in the throne room with his
advisors and Haemon enters, immediately Creon questions Haemon's
intent as he knows of the controversy that Haemon might (and does)
object to. Creon at this point would be seated in his throne above
Haemon this would show his authority over him, not just as a father
but also as a king. This use of space and staging overpowers Haemon
and he is submissive. This effect would be reinforced with lighting as
Creon is bathed with a bright sharp light and Haemon with only a
meagre fresnel. This should help the audience to see that his father
dominates Haemon, but not just because of his tyrannical nature,
Haemon is patriotic to both his country and father, he would have
obeyed the former king Oedipus with the same loyalty.
I would have Creon always above Haemon, again symbolising the
authority and also how Creon imposes upon Haemon, I would heighten
this effect to the audience by having Creon and some point, preferably
in his rhesis where is talks about the obedience of children to step
down lower to Haemon and stand close to him a overpower him. This
should show to the audience Creon's power over him.
This same power is also be inflicted upon the chorus, whom I shall
make interact with the characters as advisors to Creon, they are
however not in favour of his tyranny, and I would have them try to
waiver his actions away from sentencing Antigone to death. They are
however trying to do this and preserve their own lives and so are not
overt in their beliefs; they hint on it and merely reinforce Haemon's
intentions. They back him up without appearing to be on his side.
I would also have the actors show their characters qualities with
“So don't let your mind dwell on just one thought, that what you say is right and nothing else.” (lines 799-800) These were just some of the many words from Haemon to his father (Creon) describing the action that he isn't taking. Haemon's contrasting ideas led to the development of Creon as a tragic hero while also advancing the plot and developing the theme.
The hubris resonating throughout the play, ‘Antigone’ is seen in the characters of Creon and Antigone. Their pride causes them to act impulsively, resulting in their individual downfalls. In his opening speech, Creon makes his motives clear, that “no man who is his country’s enemy shall call himself my friend.” This part of his declaration was kept to the letter, as he refused burial for his nephew, Polynices. However, when the situation arises where it is crucial that Creon takes advice, he neglects the part of the speech where he says “a king... unwilling to seek advice is damned.” This results in Creon’s tragic undoing.
Creon believes that his laws are absolute and must be followed above all else, even Divine Law. Therefore when Antigone, in accordance with divine law, goes against Creons edict by burying her brother she is forcefully imprisoned and sentenced to death by Creon. In Creons opening speech he says, “Of course you cannot know a man completely, his character, his principles, sense of judgment … Experience, there’s the test” (Sophocles, p. 67). How Creon handles Antigones unlawful actions serves as his first test as the new king of Thebes and ends up showing the Thebans a glimpse of his true nature, that of a tyrannical ruler. This can be seen again when Haemon comes to Creon with the hope of dissuading him from his current course of action. He does this by trying to make Creon understand that the citizens of Thebes don’t agree with his use of power and planned execution of Antigone. Again Creons authoritarian nature comes to light in his response to Haemon, “And is Thebes about to tell me how to rule… Am I to rule this land for others – or myself?” (Sophocles, p. 97). To which Haemon counters by saying that “its no city at all, owned by one man alone” (Sophocles, p. 97). Creon, being the tyrant he is, fails to heed the wisdom of his sons’ words, which ultimately leads to his downfall. Creon, like Machiavelli, believed that it was
According to Aristotle, tragedy requires an admirable hero with power and in a high state, but more importantly, he or she possesses a tragic flaw that leads to their downfall. This tragic flaw most closely relates to a character’s hubris, excessive pride in themselves or their judgment. But sometimes a character cannot be categorized as tragic, and one can argue whether or not the tragic character violates the requirements. In Sophocles’ Antigone Creon and Antigone serve as tragic characters in the play; however, Creon’s character exemplifies Aristotle’s theory of tragedy.
There is a common characteristic of a tragic hero that is highlighted by Haemon words, actions, or ideas that examine more closely Creon’s tragic flaws and hubris, which contribute to his downfall. Complex characters like Haemon bring to light other more important character’s traits. Ultimately, Haemon serves to make his words, actions, or ideas call attention to Creon as a tragic hero. Whether confronting him about his leadership skills, many biases, using the citizens of Thebes, and gods to enlighten Creon of his eventual demise. After all, Haemon was a minor character who was written to confront Creon and shed light on how his pride makes him a classic example of a tragic hero.
Creon believes that he has the upper hand when it comes on making major decisions. When Creon commands some of the guards to take Ismene and Antigone away, “You, there, take them away and guard them well:For they are but women, and even brave men run When they seen Death coming”(1039,L164,S2.) This is the beginning of Creon’s error in judgement. He believes that Antigone is the enemy of Thebes because she is going against his authority, but in reality he is the enemy by making false judgement. The next example of Creon being doomed to make a serious error in judgement is when Creon discusses the plans for Antigone’s fate with Choragus after Haemon leaves, “I will carry her far away, Out there in the wilderness , and lock her Living in a vault of stone. She shall have food, As the custom is, to absolve the state of her death(1045,S3L142.) This is another starting point on the error of Creon’s judgment by adding Haemon into this conflict. Haemon tries his best to protect Antigone from Creon, but still fails because her imprisonment leads to her and Haemon’s death. This event not only kills Antigone and Haemon, but also Eurydice his wife. Creon’s decision in the story causes him to make a serious error in
In the beginning of the play Creon presents a strong confident image, although it becomes apparent self-doubt is present due to his inability to accept a diminished view of himself. Whilst giving the orders to murder anyone who tries to bury Antigone’s brother, Creon refuses the advice of his trusted council because they suggest he may be in the wrong. Creon so harshly yells Stop right there, before I am gorged with rage! (Page 12). The personality trait of being unyieldingly stubborn is one a majority can of people relate to. Therefore the audience might have felt sympathy towards him during that moment. Often the audience relates well to the tragic and can ...
A key factor in the power of her speech is Antigone’s consideration for her audiences. The first of these audiences is Creon the king of Thebes. Creon is receiving this argument as an explanation for Antigone’s defiance of his law. Creon’s statement, “And yet you dared defy the law,” evokes this response, in which Antigone says, “Your edict, King, was strong,” (“Antigone” 1035 Line 56-59). This confirms that her argument is directed towards the king. The second audience is the people of Thebes. In the play, the chorus represents the citizens of Thebes. They are almost always present when the king speaks, and this scene is no exception. Anitgone forms her argument to appeal to the thoughts and emotions of the citizens.
The design of the set is the most essential element of the production because it serves as the backdrop for the entire play. When the film starts, there is a wide shot of the Theban palace. There are two very large portraits of Creon hanging from the ceiling; this instantly establishes that Creon is the ruler of the state. The set depicts the castle’s massive foyer which contains a large staircase. Either than that there are hardly any props; this is advantageous because the presence of props and ornate decorations would divert the audience’s attention away from the dialogue and happenings of the play. Furthermore, the ambience in the palace becomes dark and bleak the moment Antigone commits suicide. This reflects the despondent mood and foreshadows Haemon’s suicide. The set of the play is successful in generating a suitable atmosphere and is reflective of the chaos that will occur.
It is important for citizens of the modern world to read Antigone because it acts as a cautionary tale to help people today avoid excessive pride causing suffering.
Everybody makes mistakes, it’s just a part of being human and nobody is perfect so if we learn from our mistakes we can help to make this world so much better. In the play Antigone there is no exception to this, and we can see all of the characters making mistakes that lead to bigger problems in the future. But as the play progresses we can see the characters realizing that even though they tried their best they did something wrong and it needs to be fixed. Creon is a perfect example of this, because he has the best intentions at the beginning of the play but as it goes on he realizes his decisions although well intended we're not the best they could be and they need to be changed. But Creon realizes this fact to late and ends up receiving
In the play Antigone by Sophocles,one could easily be lead to believe Antigone is the the tragic hero when in fact a strong case can be made that Creon, the king of Thebes, is actually the tragic hero. In believing that Creon is the tragic hero it would seem practical to call the play Creon rather than Antigone. On the other hand, naming the play Antigone gives the play a twist that leads the audience into a dynamically tragic journey through the lives of a prestigious royal family and it gives birth to thoughts of politics, religious beliefs, social roles and moral obligations.
Creon does not learn a lesson from Oedipus' accusatory behavior. Instead he adapts this bad personality trait. Throughout Antigone, he accuses everyone who tries to give him advice of betraying him. Whereas, in Oedipus, he is falsely accused by Oedipus of trying to take over the throne. This paper will compare and contrast his behavior and evaluate if he learned anything from one play to the next.
Sophocles, following the Greek standard of tragedy, casts Creon as the tragic hero plagued by his own pride, inflexibility and power. Creon believes his authority to be twofold, both as the king and as the head of his family. He claims that the throne is the source of all power, saying ?whoever is chosen to govern should be obeyed ? must be obeyed, in all things, great and small, just and unjust? (Sophocles 217), and he demands the utmost allegiance from his son, bidding him to ?subordinate everything else?to [his] father?s will? (Sophocles 216). Creon is filled with hubris, and he rejects any solution that might compromise his image. For instance, when the guards escort Antigone to the palace, he demands of the Choragos, ?Who is the man...
In this paper I will be making 3 major points about Creon. First I will explain the role Creon plays in this drama. Next I will explain some of the values Creon represents in this story. And for the last I will be examining how essential Creon is to the way this situation plays itself out.